A few weeks ago, early on a Saturday afternoon, I was sitting down to lunch with friends at a local restaurant, when I got a call from a local photographer. He asked if I was busy right then, and I told him I was just eating lunch. The caller manages Studio 1414, a rental studio in Minneapolis, and another photographer who had rented the space was a bit overwhelmed, and needed a hand. I told him that I’d be there in 30 minutes. I gobbled down my lunch, apologized to my friends for eating and running, and hustled over to the studio. I had no idea what the shoot was or what to expect when I got there.
When I arrived at the studio, there were about 20 dogs of all shapes and sizes in the front room–Jack Russells, Border Collies, terriers, retrievers, even some beagles. The dogs and owners were a little anxious. When I walked into the studio, everyone was happy to see me. I knew the photographer, Barbara O’Brien, from a shoot a couple years back. She also operates The Animal Connection, her normal gig for the past 20-plus years, where she has provided animal talent for photography. She told me the assistant she normally uses was unavailable that day, and decided she would try to do it all herself. Unfortunately, she got in over her head real quick. I told her not to worry, and just tell me what she needed me to do and how I can help her best. She quickly explained that the shoot that day was just a straightforward casting call for a dog, for a retail ad. The lighting was already set, so we quickly determined our process and workflow and got the first dog onto the set in about ten minutes.
Believe it, or not, this is quite common, especially these days. Budgets are tight, turnaround time is short, and photographers are trying to do everything themselves… and then all hell breaks loose. If you think this photography gig is a cake-walk, well, I got news for you. You gotta be on top of your game, ready to do anything and everything, so that when you get a call like this and the photographer asks, “How soon can you get here?,” you are ready to tackle whatever task is at hand when you walk through the studio doors and onto the set. I’ve seen things go to hell-in-a-hand-basket even when there is adequate crew and equipment. Sometimes it’s just the nature of a photo shoot. Other times, Murphy’s law comes into play or some minor catastrophe causes a delay in production. When things go sour, take it with a grain of salt, keep your cool, and be a problem-solver. That’s why the photographer called you. When you find yourself working with someone new, just as I did, ask them directly what they expect of you. Let them know if you aren’t familiar with a piece of gear or software that they’re using. Getting a quick tutorial before starting is better than when you’re in the middle of the shoot and realize that you’re in over your head. Listen to directions, communicate, and take action. Make sure everyone involved is on the same page.
In my situation, it was imperative that we got going quickly, as the dogs were being stressed and the trainers were getting impatient. Once we got the first few dogs photographed, we were up to speed and the rest of the day went pretty well. I adjusted lighting, as necessary. I kept an eye on the photographer’s camera settings, as she was moving around quite a bit, and sometimes the aperture was accidentally bumped. I downloaded CF cards into Lightroom and checked focus and made backup copies onto an external drive. I think we shot 40-50 dogs in the next three hours. We kept the dogs happy and had lots of fun with them and their owners. We even finished on time! Quite miraculous when you consider we were two hours behind schedule when I arrived at the studio! I was happy, the photographer was happy. Now, I have a new client that I can expect to get lots more work from real soon.
When I find myself working in a new studio, or on-location, I take a little time to get familiar with my surroundings. If I don’t have that time, I just remain calm, but keep my eyes and ears open extra-wide and make an extra effort to make mental notes about who, what, where, how, and why. Who is doing what? What, exactly, is my role? Where is the main power? Where’s the fire-extinguishers? What will the photographer need next? Where is the grip gear? Where is there a first-aid kit? Is the client comfortable or need anything? Where are the emergency exits? Where are the restrooms? Where is there a broom and a mop? Are there any dangerous situations around me? What can I do to make things safer? Are cords secure and taped down? Are there sand-bags on light-stands and equipment that need to be secured? Be pro-active and find what needs to be done, instead of having to be told. This will go a long way for you, especially when you walk onto a set in mid-stride and help pick-up the pieces.
When things go wrong, and they will, make a mental note of these things. As a photo assistant, ask yourself how the problems could have been avoided. Or, talk with the photographer or first assistant, after the shoot. Maybe the photographer had camera or lighting gear you were unfamiliar with. Go home and download the user manual from the manufacturer and study it. Rent a pack and a couple heads, or, ask the photographer if you can come in the following day to help clean-up a little and work with some of the unfamiliar equipment. Maybe you didn’t understand the lighting set-up. Learn more about the lighting scheme that was being used by researching online or in books at the library. Were you familiar with the digital back and software being used? Learn the capture software and the workflow techniques that were used so you can step-in if necessary. You can find almost everything you need to learn online these days. Search YouTube for videos of lighting techniques and practice on your own. Search for other blogs about lighting, gear, and software. Use magazine tear-sheets to dissect a lighting scheme. Join a local camera club or community photo center, and learn from, and teach, others.
I cannot stress enough about continued self-education. As an assistant, you should always be learning something new from every shoot you work on. This will help insure that you are ready for anything and everything. Until you can get oodles of experience, the more you know, the better you can do your job, and the more call-backs you will get.
